Book Review: Tom McAlindon. <em>Shakespeare's Tudor History: A Study of Henry IV, Parts 1 and 2.</em> Aldershot, Ashgate, 2001.
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Abstract
Shakespeare's Henry IV plays feature two of his most famous characters, Falstaff and Hal, who metamorphoses into the legendary Henry V, victor of Agincourt.The fact that Shakespeare wrote the plays as a twin set is in itself significant.No other two works in the canon are quite this closely linked, since the action of the second play connects seamlessly with the penultimate scene of the first play.When Rumour, famously painted full of tongues, enters at the start of 2 Henry IV we are returned to the inside of the first play.Traditionally the two parts are played off against each other, with Part 1 almost invariably coming out on top as the more interesting of the two.This is due in part to the prominent roles played in it by Hotspur and Falstaff.Hotspur in particular is not only Hal's glamorous 'changeling' (a phrase ruefully applied by Bolingbroke about his feckless son), but he is married to the affectionate Kate and engages in a battle of wits with the Welsh warrior Owen Glendower.When Glendower notes portentously that he can 'call spirits from the vasty deep', Hotspur replies, 'Why, so can I, or so can any man, / But will they come when you do call for them?'After this we love him and cease to care whether or not he is of the devil's or the rebels' party.His political recklessness suddenly matters as little as his cheerfully grating remarks on poetry.The sheer verve of Shakespeare's portrayal of Hotspur carries all before it, including his politics.These may well be misguided; at least Bolingbroke thinks so, but then we can never be sure about how much we are meant to trust him.This is after all the same Bolingbroke whose claim to the throne is extremely precarious.Shakespeare never lets us forget that, and the three Henry plays that follow Richard II all revert to his usurpation, and not just in the drawn-out death-bed scene in Part 2. In Henry V, before Agincourt, Hal as Henry V prays that his men may not on the morrow have to pay the penalty for his father's usurpation and promises to do even more than he has to honour the remains of Richard.As so often in Shakespeare (for example in Antony and Cleopatra), the play's imaginative dynamic pulls in the opposite direction from its historical and political frame.But it is with the 'frame' that this new and comprehensive study Book Reviews
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Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.001 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.015 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it